DOCSLIB.ORG

'Race' and Diaspora: Romani Music Making in Ostrava, Czech Republic

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
'Race' and Diaspora: Romani Music Making in Ostrava, Czech Republic Music, ‘Race’ and Diaspora: Romani Music Making in Ostrava, Czech Republic Melissa Wynne Elliott 2005 School of Oriental and African Studies University of London PhD ProQuest Number: 10731268 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10731268 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract This thesis is a contribution towards an historically informed understanding of contemporary music making amongst Roma in Ostrava, Czech Republic. It also challenges, from a theoretical perspective, conceptions of relationships between music and discourses of ‘race’. My research is based on fieldwork conducted in Ostrava, between August 2003 and July 2004 and East Slovakia in July 2004, as well as archival research in Ostrava and Vienna. These fieldwork experiences compelled me to explore music and ideas of ‘race’ through discourses of diaspora in order to assist in conceptualising and interpreting Romani music making in Ostrava. The vast majority of Roma in Ostrava are post-World War II emigres or descendants of emigres from East Slovakia. In contemporary Ostrava, most Roma live on the socio­ economic margins and are most often regarded as a separate ‘race’ with a separate culture from the dominant population. Chapter 1 considers Romani history and origins in the light of postmodern perspectives. Academic and grassroots debates are reviewed and I explore their significance in the context of contemporary Romani music making in Ostrava. The history of ‘race’, the history of Roma in the Czech lands and Slovakia 1399-1948, and their increasing interweaving and fatal collision in the Nazi-led Holocaust, is outlined in chapter 2. The legacies of the Holocaust, Romani history and contemporary racial experiences are considered in relation to the anthem of the Czech and Slovak Roma. Chapter 3 considers life for Roma under Czechoslovak socialism and I examine recordings of Romani music and memories of this time. In chapter 4, the vast socio-economic and cultural changes following the demise of the Communist party and the influence of the modern nation-state and nationalism are explored in relation to Ostrava Roma and the major re interpretations of Romani musical traditions that have been taking place post-1989. The phenomenon of Rompop is discussed in chapter 5, particularly its contemporary expressions in bands, parties and discos in Ostrava, which is then used as an example in the consideration of possible connections between music and ideas of ‘race’ in a theoretical interlude. Chapter 6 explores new trends in Ostrava music making that mark a fundamental rupture with traditions and draw on a variety of cultural expressions from around the globe. In chapter 7 ,1 introduce the small and separate group of Vlach Roma in Ostrava and their strong diasporic connections to other Vlach. I conclude my theoretical challenge to conceptions of music and ‘race’ in chapter 8 by offering a framework with which to consider Romani music making in Ostrava and its racialisation, drawing on Hall’s theory of articulation and discourses of diaspora. 2 Acknowledgements First and foremost I would like to thank the people of the Zarubek, Liscina, Hrusov, Privoz, Radvanice and the Co-existence Village communities for their great kindness and hospitality. Although countless families showed overwhelming kindness, people I would like to single out are the Botos family (Marcela, Stefan, Stefan and family, Andrea, Marcela, Karolina, Jitka, Jirka and family, Babicka and Deda, Jolana, Pavlina, Renata); Janko Ferenc, Ruzena and family; Stefan Ziga, Alzbeta and family; Kveta Marcinova and family; Jaroslav Krosfan and family; Puki; Franta, Lucka and family; Rafael and family; the Vlach king of Ostrava and his family; the Horvath family in Brno; Josef Gina and family in Opava; Mirga Kalman and family; the residents of the Vesnicka Souziti; staff and children of the Zarubek, Liscina and Hrusov community centres, especially Petr, Klara, Renata, Natasa, Mirek and the ladies at Liscina; Miroslav Cervenak; Martin Grinvalsky and family; Romani residents of Bohumln; Romani residents of Trnkovec street in Radvanice; Petr Licko, staff and children at the Privoz centre. Thanks are especially due to Kumar Vishwanathan and his team at the NGO “Life Together”, including Anicka, Dan, Elena, Zdenek, Hanka and Lucka. I owe particular gratitude to Ladislav Horvath, Ruzena Kotlarova and the residents of Richnava settlement in East Slovakia, when they welcomed my partner and I at their settlement and shared what little they had themselves. Jifi Machacek was tireless in his help, introducing me to musicians, creating opportunities for me, and sometimes interpreting. Thanks to Geoff Williams for introducing me to him and always being a friendly face. I would like to thank Tomas Senkyfik and the Romani Museum in Brno, Jan Rokyta and the staff at Ostrava Radio, Christiane Fennesz-Juhasz and the staff of the Vienna Phonogramm Archiv for assistance with finding archive recordings and other valuable resources. Tomas Novotny was an inspiration and generously shared his experiences, musical talents, translations of Romani proverbs and a recording of the Hefmanice prison choir, which he used to lead. 3 I would also like to thank the AHRC (formerly AHRB) for their financial support and Keith Howard for his academic support. Thanks to Renata Berankova and Lukas Kroulik for their assistance with the Czech and Slovak languages, and to Christiane Fennesz-Juhasz with Romani dialects. Special thanks are due to Renata for patiently transcribing all my interviews. Thanks are due to Ed Scolding for consultation on many of the musical transcriptions and for help with technological challenges. Thanks to Abbi Wood for reading through and commenting on the first five chapters. Thanks to Andy Saunders for obtaining a second hand saxophone, and to Anna Payne, Sarah Goss, Susi Evans, Louise Taylor and She’koyokh for visiting me in Ostrava. Thanks to Duncan (my partner and now husband), my parents and Anna for being a constant source of support in so many ways. 4 Contents List of CD examples 7 List of DVD examples 8 List of Figures 9 A note on terminology and languages 11 Introduction 12 0.1 An introduction to Roma in Ostrava 13 0.2 Fieldwork 15 0.3 Thesis structure 19 0.4 Review of literature on Romani history 24 0.5 Review of literature on Romani music and culture 26 0.6 Research on Romani music in the Czech Republic and Slovakia 29 Chapter 1 Romani Origins and History 33 1.1 Postmodern perspectives on origins and history 34 1.2 Academic debates concerning Romani origins 37 1.3 Romani grassroots’ debates concerning Romani origins 39 1.4 Significances of origins for Romani music in Ostrava 46 Chapter 2 Roma in the Czech Lands and Slovakia 1399-1945: Discourses of ‘Race’ (Part 1) 53 2.1 What is ‘race’?: history and development of discourses of ‘race’ 53 2.2 Statement o n ‘race’ 57 2.3 Entry of Roma into the Czech lands (1399-1917) 59 2.4 The birth of Czechoslovakia (1918-1938) 63 2.5 World War II and the aftermath 64 2.6 Significances of Romani history and World War II amongst contemporary Ostrava Roma: the song Chajori Romani 70 Chapter 3 Romani Music under Socialism: Discourses of ‘Race’ (Part 2) 93 3.1 What is ‘race’?: the intersection of ‘race’ with class, culture and genetics 94 3.2 Conditions for Roma under the Czechoslovak Communist party 97 3.3 Life for Romani musicians under socialism 103 3.4 Recordings of Romani musicians in the Ostrava region between 1958 and 2004 108 Chapter 4 Roma Post-1989: Traditional Styles Reinterpreted 126 4.1 Roma post-1989 in Czechoslovakia/Czech Republic 127 4.2 Roma, the nation-state and nationalism 133 4.3 Phurikam gil'a and dulcimer bands reinterpreted 136 - Mirga Kalman and his family 137 - Josef Gina Junior 144 - The Horvath family band 149 - Old style dancing reinterpreted 155 5 Chapter 5 Rompop 162 5.1 Rompop 163 5.2 Discos and parties 175 5.3 Profile on Janko, his family and Gypsy Imre 181 5.4 Jaroslav Krost’an 195 5.5 Puki and community centres 198 Interlude: How are Ideas of Music and ‘Race’ Connected? 202 Chapter 6 New Trends 212 6.1 Hip Hop 213 6.2 International pop 220 6.3 “Miss” events 222 6.4 Cultural fusion and collaborations 225 6.5 The international Romani movement 230 Chapter 7 Vlach Roma in Ostrava 234 7.1 Historical background of Vlach Ostrava Roma 235 7.2 Vlach musical traditions 240 Chapter 8 Diaspora Discourses and Romani Music Making in Ostrava 247 8.1 Statement on diaspora 248 8.2 Literature on diaspora discourse 251 8.3 Diaspora discourse in relation to Roma 254 8.4 Literature on music and diaspora discourse 256 8.5 Discourses on diaspora in relation to understandings of Romani music making in Ostrava 260 Postlude 271 Appendix Roma in East Slovakia 272 9.1 The Richnava settlement 272 9.2 Impressions from Ostrava 279 Bibliography 281 6 List of CD examples Example 1 (chapter 2.5) Field recording of the song Chajori Romani made by Eva Davidova in Ostrava at the home of Jan Cervenak, with him and his family performing, 1968.
Load more

Recommended publications
  • List of Participants
    JUNE 26–30, Prague • Andrzej Kremer, Delegation of Poland, Poland List of Participants • Andrzej Relidzynski, Delegation of Poland, Poland • Angeles Gutiérrez, Delegation of Spain, Spain • Aba Dunner, Conference of European Rabbis, • Angelika Enderlein, Bundesamt für zentrale United Kingdom Dienste und offene Vermögensfragen, Germany • Abraham Biderman, Delegation of USA, USA • Anghel Daniel, Delegation of Romania, Romania • Adam Brown, Kaldi Foundation, USA • Ann Lewis, Delegation of USA, USA • Adrianus Van den Berg, Delegation of • Anna Janištinová, Czech Republic the Netherlands, The Netherlands • Anna Lehmann, Commission for Looted Art in • Agnes Peresztegi, Commission for Art Recovery, Europe, Germany Hungary • Anna Rubin, Delegation of USA, USA • Aharon Mor, Delegation of Israel, Israel • Anne Georgeon-Liskenne, Direction des • Achilleas Antoniades, Delegation of Cyprus, Cyprus Archives du ministère des Affaires étrangères et • Aino Lepik von Wirén, Delegation of Estonia, européennes, France Estonia • Anne Rees, Delegation of United Kingdom, United • Alain Goldschläger, Delegation of Canada, Canada Kingdom • Alberto Senderey, American Jewish Joint • Anne Webber, Commission for Looted Art in Europe, Distribution Committee, Argentina United Kingdom • Aleksandar Heina, Delegation of Croatia, Croatia • Anne-Marie Revcolevschi, Delegation of France, • Aleksandar Necak, Federation of Jewish France Communities in Serbia, Serbia • Arda Scholte, Delegation of the Netherlands, The • Aleksandar Pejovic, Delegation of Monetenegro, Netherlands
    [Show full text]
  • ROMA INCLUSION in the CROATIAN SOCIETY Identity, Social Distance and the Experience of Discrimination
    Europska unija Zajedno do fondova EU ROMA INCLUSION IN THE CROATIAN SOCIETY identity, social distance and the experience of discrimination Nikola Rašić - Danijela Lucić - Branka Galić - Nenad Karajić Publisher: Office for Human Rights and the Rights of National Minorities of the Government of the Republic of Croatia For the publisher: Alen Tahiri, M.A.Pol Sci Year of publication: 2020 Original title: Uključivanje Roma u hrvatsko društvo: identitet, socijalna distanca i iskustvo diskriminacije Authors: Nikola Rašić, Danijela Lucić, Branka Galić, Nenad Karajić Reviewers: Helena Popović and Krunoslav Nikodem Translation: Sinonim d.o.o. Graphic design, editing and printing: Kerschoffset d.o.o. Circulation: 50 copies Cataloguing-in-Publication data available in the Online Catalogue of the National and University Library in Zagreb under CIP record 001083072. ISBN: 978-953-7870-26-3 Projekt je sufinancirala Europska unija iz Europskog socijalnog fonda. Sadržaj publikacije isključiva je odgovornost Ureda za ljudska prava i prava nacionalnih manjina Vlade Republike Hrvatske. Za više informacija: Ured za ljudska prava i prava nacionalnih manjina Vlade Republike Hrvatske Mesnička 23, 10 000 Zagreb, + 385 (1) 4569 358, [email protected] Više informacija o EU fondovima dostupno je na www.strukturnifondovi.hr ROMA INCLUSION IN THE CROATIAN SOCIETY identity, social distance and the experience of discrimination Nikola Rašić - Danijela Lucić - Branka Galić - Nenad Karajić Zagreb, 2020 DISCLAIMER: The views and opinions expressed in this publication are those of the authors and do not necessarily reflect the views of the institutions in which the authors are employed nor the views of the Office for Human Rights and the Rights of National Minorities of the Government of the Republic of Croatia.
    [Show full text]
  • Chapter 4: (1960 – 1980) Branches of Čoček
    Gundula Gruen Gundula Gruen MA Ethnomusicology MUM120: Ethnomusicology Major Project August 2018 Title: UNDERSTANDING ČOČEK – AN HISTORICAL, MUSICAL AND SOCIOLOGICAL EXPLORATION Module Tutor: Dr Laudan Nooshin Student Name: Gundula Gruen Student No: 160033648 Submitted in partial fulfilment of the requirements for the degree of MA in Ethnomusicology Total word count: 20,866 (including headings, excluding footnotes and references) TABLE OF CONTENTS Abstract ......................................................................................................................................... 7 Foreword: ...................................................................................................................................... 8 Acknowledgements: .................................................................................................................. 8 Definitions and Spellings .......................................................................................................... 8 Introduction: ................................................................................................................................ 11 Chapter 1: The Origins of Čoček ................................................................................................ 15 The History of Köçek in Ottoman Times ................................................................................ 16 Speculation on Older Roots of Čoček ..................................................................................... 18 Chapter 2: Čalgija
    [Show full text]
  • Romani Syntactic Typology Evangelia Adamou, Yaron Matras
    Romani Syntactic Typology Evangelia Adamou, Yaron Matras To cite this version: Evangelia Adamou, Yaron Matras. Romani Syntactic Typology. Yaron Matras; Anton Tenser. The Palgrave Handbook of Romani Language and Linguistics, Springer, pp.187-227, 2020, 978-3-030-28104- 5. 10.1007/978-3-030-28105-2_7. halshs-02965238 HAL Id: halshs-02965238 https://halshs.archives-ouvertes.fr/halshs-02965238 Submitted on 13 Oct 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Romani syntactic typology Evangelia Adamou and Yaron Matras 1. State of the art This chapter presents an overview of the principal syntactic-typological features of Romani dialects. It draws on the discussion in Matras (2002, chapter 7) while taking into consideration more recent studies. In particular, we draw on the wealth of morpho- syntactic data that have since become available via the Romani Morpho-Syntax (RMS) database.1 The RMS data are based on responses to the Romani Morpho-Syntax questionnaire recorded from Romani speaking communities across Europe and beyond. We try to take into account a representative sample. We also take into consideration data from free-speech recordings available in the RMS database and the Pangloss Collection.
    [Show full text]
  • Toward a Lexicon for the Style Hongrois Jonathan D
    University of Northern Colorado Scholarship & Creative Works @ Digital UNC School of Music Faculty Publications School of Music Spring 1991 Toward a Lexicon for the Style hongrois Jonathan D. Bellman Follow this and additional works at: https://digscholarship.unco.edu/musicfacpub Part of the Musicology Commons Recommended Citation Bellman, Jonathan D., "Toward a Lexicon for the Style hongrois" (1991). School of Music Faculty Publications. 2. https://digscholarship.unco.edu/musicfacpub/2 This Article is brought to you for free and open access by the School of Music at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in School of Music Faculty Publications by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. Toward a Lexicon for the Style hongrois Author(s): Jonathan Bellman Source: The Journal of Musicology, Vol. 9, No. 2 (Spring, 1991), pp. 214-237 Published by: University of California Press Stable URL: http://www.jstor.org/stable/763553 . Accessed: 17/01/2015 20:21 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of California Press is collaborating with JSTOR to digitize, preserve and extend access to The Journal of Musicology.
    [Show full text]
  • CALIFORNIA STATE UNIVERSITY, NORTHRIDGE the Gypsy Violin A
    CALIFORNIA STATE UNIVERSITY, NORTHRIDGE The Gypsy Violin A thesis submitted in partial fulfillment of the requirements For the degree of Master of Music in Music, Performance By Eun Ah Choi December 2019 The thesis of Eun Ah Choi is approved: ___________________________________ ___________________ Dr. Liviu Marinesqu Date ___________________________________ ___________________ Dr. Ming Tsu Date ___________________________________ ___________________ Dr. Lorenz Gamma, Chair Date California State University, Northridge ii Table of Contents Signature Page…………………………………………………………………………………….ii List of Examples……………………………………………………………………………...…..iv Abstract…………………………………………………………………………………………....v Chapter 1: Introduction.……………..……………………………………………………….……1 Chapter 2: The Establishment of the Gypsy Violin.……………………….……………………...3 Chapter 3: Bela Bartók’s Romanian Folk Dances [1915].………….…….……………………….8 Chapter 4: Vittorio Monti’s Csádás [1904]….…………………………………..………………18 Chapter 5: Conclusion …………..……………...……………………………………………….24 Works Cited.…………….……………………………………………………………………….26 California State University, Northridge iii List of Examples 1 Bartók’s Romanian Dances, Movement I: mm. 1-13……………………………………..9 2 Bartók’s Romanian Dances, Movement II: mm. 1-16…………………………...………10 3 Bartók’s Romanian Dances, Movement III …………………………………..…………12 4 Bartók’s Romanian Dances, Movement IV …………………………………..…………14 5 Bartók’s Romanian Dances, Movement V: mm. 5-16…………………………………...16 6 Monti’s Csárdás, m. 5………………………………………………..………………......19 7 Monti’s Csardas, mm. 6-9…………………………………………..…………………...19 8 Monti’s Csárdás, mm. 14-16.…………………………………….……………………...20 9 Monti’s Csárdás, mm. 20-21.………………………………….……………………..….20 10 Monti’s Csárdás, mm. 22-37………………….…………………………………………21 11 Monti’s Csárdás, mm. 38-53…………………….………………………………………22 12 Monti’s Csárdás, mm. 70-85…………………….………………………………………23 iv Abstract The Gypsy violin By Eun Ah Choi Master of Music in Music, Performance The origins of the Gypsies are not exactly known, and they lived a nomadic lifestyle for centuries, embracing many cultures, including music.
    [Show full text]
  • First-Generation Historians Leaving a Mark: Yasmeen Ragab, Carmen Gutierrez, Johnna Jones, Jason Smith PAGE 2 Letter from the Chair
    University of Illinois at Urbana-Champaign www.history.illinois.edu Spring 2020 First-Generation Historians Leaving a Mark: Yasmeen Ragab, Carmen Gutierrez, Johnna Jones, Jason Smith PAGE 2 Letter from the Chair fter twenty years in Champaign-Urbana and sixteen years as a faculty member, I became interim chair of the department in August 2019. I feel so lucky to lead Asuch an amazing group of scholars—faculty, graduate students, and undergradu- ate majors—for the next two years. I am grateful to Clare Crowston for her advice and wise counsel throughout the summer as we prepared for the transition. My faculty joins me in wishing her all the best for a productive and restorative sabbatical this year and in the new position she’ll assume in August 2020 as Associate Dean for the Humanities and Interdisci- plinary Programs in the College of Liberal Arts and Sciences. The dedicated staff in 309 Gregory Hall provide the support we all need to keep the department running smoothly, attending to every detail. I have relied on their expertise, experience, and professionalism as I have learned the job, and I am grateful to each of them. For the past eighteen years, Tom Bedwell, our business manager, has ensured the successful running of all aspects of departmental operations. His total commitment, professionalism, and skill as a financial manager are matched by his unflagging dedication to the welfare of each and every faculty member, student, and staff. Dawn Voyles assists Tom working effi- ciently to reserve flights for faculty, pay honoraria to visiting scholars, and process receipts.
    [Show full text]
  • The Pennsylvania State University Schreyer Honors College
    THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE SCHOOL OF MUSIC ECLECTIC STRING STYLES IN MUSIC EDUCATION JENNY M. KNABB SPRING 2015 A thesis submitted in partial fulfillment of the requirements for a baccalaureate degree in Music Education with honors in Music Education Reviewed and approved* by the following: Robert D. Gardner Associate Professor of Music Education Thesis Supervisor Ann C. Clements Associate Professor of Music Education Honors Adviser * Signatures are on file in the Schreyer Honors College. i ABSTRACT What type of music do you think your students are listening to? For students that do not normally listen to classical how can we keep them interested, motivated, and involved in music long after they graduate? Not every student will go on to become the next Yo-Yo Ma or Itzhak Perlman or be a classically trained violinist at Julliard. We should show them the other genres and styles they can perform on their instruments besides only playing classical music. There are many different styles of music that you can teach: jazz, rock, fiddle, blues, Celtic, mariachi, gypsy, pop and movie soundtracks to name a few. There are also many different subgenres within the genre and many combinations of styles called fusions. By teaching eclectic styles of music student will learn that there are many different styles that they can play on their instrument. Students will be aware that they can play in a rock band, jazz ensemble or create their own band to perform any style of music that interests them. It is important for teachers to understand the difference in eclectic styles and be able to teach different genres and styles.
    [Show full text]
  • Call for Films
    CALL FOR FILMS To all Roma, Sinti, Kale, Kalderash, Lovara, Lalleri, Ursari, Beasch, Manouches, Ashkali, Aurari, Romanichals, Droma, Doma, Gypsies, Travellers and all the other Romani groups of the world… The fourth Festival of Romani Film will take place in Berlin in 2020: AKE DIKHEA? Festival of Romani Film 19 – 23 November 2020 We are looking for films with which members of different Romani groups can identify to. People with a Romani background or self-organizations can propose films by Roma and non-Roma filmmakers whose themes concern the lives of Romani people in the world and critically reflect upon the reality of discrimination. Possibilities of film registration: FilmFreeWay: https://filmfreeway.com/AkeDikhea Form: https://bit.ly/2NiDumj E-mail: [email protected] Deadline for submission of proposals: Sunday, 9 August 2020 Background information: AKE DIKHEA? translated means “YOU SEE?". It is a self-organized, international festival of Romani film that will take place in Berlin in November 2020. The festival presents Berlin, Germany and the whole world from the perspective of Romani people: Which films represent us, which themes are important to us, how do we see ourselves and how do we want to be seen? We don't want to wait until someone gives us a voice. We want to shape the social space ourselves and decide on the themes and structure of the festival events. The festival is organized by the Berlin Roma self-organization RomaTrial in cooperation with Germany's oldest cinema, Moviemento. Further information can be found on the roma-filmfestival.com website. Selection process The AKE DIKHEA? Festival of Romani Film stands for a unique, participatory selection process: Thanks to our worldwide network of (Romani) filmmakers, we are able to discover topics, people and perspectives that would otherwise remain hidden or only have a local or national impact.
    [Show full text]
  • 2018–2019 Annual Report
    18|19 Annual Report Contents 2 62 From the Chairman of the Board Ensemble Connect 4 66 From the Executive and Artistic Director Digital Initiatives 6 68 Board of Trustees Donors 8 96 2018–2019 Concert Season Treasurer’s Review 36 97 Carnegie Hall Citywide Consolidated Balance Sheet 38 98 Map of Carnegie Hall Programs Administrative Staff Photos: Harding by Fadi Kheir, (front cover) 40 101 Weill Music Institute Music Ambassadors Live from Here 56 Front cover photo: Béla Fleck, Edgar Meyer, by Stephanie Berger. Stephanie by Chris “Critter” Eldridge, and Chris Thile National Youth Ensembles in Live from Here March 9 Daniel Harding and the Royal Concertgebouw Orchestra February 14 From the Chairman of the Board Dear Friends, In the 12 months since the last publication of this annual report, we have mourned the passing, but equally importantly, celebrated the lives of six beloved trustees who served Carnegie Hall over the years with the utmost grace, dedication, and It is my great pleasure to share with you Carnegie Hall’s 2018–2019 Annual Report. distinction. Last spring, we lost Charles M. Rosenthal, Senior Managing Director at First Manhattan and a longtime advocate of These pages detail the historic work that has been made possible by your support, Carnegie Hall. Charles was elected to the board in 2012, sharing his considerable financial expertise and bringing a deep love and further emphasize the extraordinary progress made by this institution to of music and an unstinting commitment to helping the aspiring young musicians of Ensemble Connect realize their potential. extend the reach of our artistic, education, and social impact programs far beyond In August 2019, Kenneth J.
    [Show full text]
  • Hungary: Traditional Roma Names
    Responses to Information Requests - Immigration and Refugee Board of Canada Page 1 of 9 Home Country of Origin Information Responses to Information Requests Responses to Information Requests Responses to Information Requests (RIR) are research reports on country conditions. They are requested by IRB decision makers. The database contains a seven-year archive of English and French RIR. Earlier RIR may be found on the UNHCR's Refworld website. Please note that some RIR have attachments which are not electronically accessible here. To obtain a copy of an attachment, please e-mail us. Related Links • Advanced search help 8 January 2018 HUN106036.E Hungary: Traditional Roma names; name-changing practices after marriage; languages spoken by Roma, including variations in spoken Hungarian (2015- December 2017) Research Directorate, Immigration and Refugee Board of Canada, Ottawa 1. Traditional Roma Names In correspondence with the Research Directorate, Tamás Farkas, a linguist at Eötvös Loránd University in Budapest (Országos Doktori Tanács 2017), indicated that the most common and typical surnames of Roma in Hungary are linguistically of Hungarian origin (Farkas 21 Dec. 2017). The same source added that "it is not so easy" to distinguish between Roma names and the rest of the Hungarian population "as in the case of other national or ethnic minorities" (Farkas 21 Dec. 2017). However, the same source indicated that, when looking at someone's full name, https://irb-cisr.gc.ca/en/country-information/rir/Pages/index.aspx?doc=457338&pls=1 9/7/2018 Responses to Information Requests - Immigration and Refugee Board of Canada Page 2 of 9 there are some personal names for which "it is quite obvious that the person belongs to the Roma population" (Farkas 20 Dec.
    [Show full text]
  • APPLICATION for GRANTS UNDER the National Resource Centers and Foreign Language and Area Studies Fellowships
    U.S. Department of Education Washington, D.C. 20202-5335 APPLICATION FOR GRANTS UNDER THE National Resource Centers and Foreign Language and Area Studies Fellowships CFDA # 84.015A PR/Award # P015A180010 Gramts.gov Tracking#: GRANT12656311 OMB No. , Expiration Date: Closing Date: Jun 25, 2018 PR/Award # P015A180010 **Table of Contents** Form Page 1. Application for Federal Assistance SF-424 e3 2. Standard Budget Sheet (ED 524) e6 3. Assurances Non-Construction Programs (SF 424B) e8 4. Disclosure Of Lobbying Activities (SF-LLL) e10 5. ED GEPA427 Form e11 Attachment - 1 (UT_SAI_NRC___FLAS_2018___ED_GEPA_4271031661891) e12 6. Grants.gov Lobbying Form e14 7. Dept of Education Supplemental Information for SF-424 e15 8. ED Abstract Narrative Form e16 Attachment - 1 (UT_SAI_NRC___FLAS_2018___Abstract1031661937) e17 9. Project Narrative Form e18 Attachment - 1 (UT_SAI_NRC___FLAS_2018___Project_Narrative1031661995) e19 10. Other Narrative Form e72 Attachment - 1 (UT_SAI_NRC___FLAS_2018___Appendix_1___NRC_FLAS_Applicant_Profile1031661934) e73 Attachment - 2 (UT_SAI_NRC___FLAS_2018___Appendix_2___Acronyms1031661935) e74 Attachment - 3 e75 (UT_SAI_NRC___FLAS_2018___Appendix_3____Diverse_Perspectives_and_Government_Service1031661980) Attachment - 4 (UT_SAI_NRC___FLAS_2018___Appendix_4___CVs1031661968) e77 Attachment - 5 (UT_SAI_NRC___FLAS_2018___Appendix_5___Courses1031661970) e117 Attachment - 6 (UT_SAI_NRC___FLAS_2018___Appendix_6___PMF1031661971) e143 Attachment - 7 (UT_SAI_NRC___FLAS_2018___Appendix_7___Letters_of_Support1031661972) e146 11. Budget
    [Show full text]